Category: 2026

S_V_H Final Image for the song My Foolish Heart

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My foolish Heart October 11th ≈ L38 x H 38 x D 8,5 inches.

Here is a closeup of a handwritten Lyrical Verse by Scott Von Holzen that is mounted on the artwork, My Foolish Heart. Follow down this page for the explanation of what is going on here.

The Lyrical Verse for My Foolish Heart

My Foolish Heart  Music by VICTOR YOUNG
Words by Ned WASHINGTON

“The night is like a lovely tune, beware my foolish heart!
How white the ever distant moon, take care, my foolish heart!
There’s a line between love and fascination
That’s so hard to see on an evening such as this
For they both give the very same sensation
When you’re lost in the magic of a kiss
Her lips are much too close to mine, beware my foolish heart!
But should our eager lips combine, then let that fire start
For this time it isn’t fascination, or a dream that will fade and fall apart
It’s love this time, it’s love, my foolish heart!”


–––––––––––––––––––––––––––––––––––––––––––––––


(THE WORDS FROM THE HANDWRITTEN LYRICAL VERSE attached to the artwork.)

It’s Love Lyrical Verse for the artwork My Foolish Heart SCOTT ON HOLZEN

“When I am with someone new,
I dream for the night hours.
The evening falling over us.
The white of the moon,
setting the opening scene. Soft voicing lines 
share the same sensations .
Is it love.
is it fascination.
For the night holds a lovely tune.
  Beware the bright white of the moon. And yet there’s a hard line to cross 
between love and fascination.
Mystery lost in the magic of a kiss. And if fascination or a 
fades or falls apart in time.
 Why still.
 Her lips too close. Beware the light the ever distant moon,
exposing should eager lips combine.
 Seen in an evening such as this.
Then let the fire start.
This time It’s love this time 
it’s love.
 My foolish heart pressed
 Between two eager lips. 
On an evening such as this.”

Here is an explanation of what I am doing: copying words and lines from someone else’s copyrighted lyrics. I am writing one person’s feelings and the words from that song that the listener is recalling when thinking about the music and why the music and the lyrics stick in their head.
Speaking for myself, there are few songs that I have memorized the lyrics to correctly. Here is an example: Bruce Springstein song “Radio Nowhere.” The actual line from the song is: “Is there anybody alive out there?” But for forever and months more, I would think to myself this line: “Is there anybody out there with a light on?” That is a small, tiny example explaining my lyrical verse. The lyrics are not mine, and I acknowledge that. But the memories, the dreams, stories and lyrics behind the music, I feel them . And this is why I spend considerable time building an artwork, the cover, music and lighting that define this art. All that is mine.

On October 12th update to Lyrical Verse, My Foolish heart

On October 12th, I was reading the lyrical verse for My Foolish Heart. One line from the verse caught my attention. After letting this verse settle I went all Jean-Michel Basquiat and crossed out words and left that lyric verse line as “Her lips too close.” And I actually like this change. This shortened line goes better with the line before: “Will Still.” The original line is a great lyric: “Her lips are much too close to mine...” I felt I needed to put more of my voice into this verse.

Bill Evans 1966

It was a serendipitous moment when I came across this video of Bill Evans. It is an interesting behind-the-scenes story. Evans is somewhere out of the country, while the drummer is local, and this conversation I did not expect. There is another connection I have with this video..

In 1966, I graduated from high school. Not knowing I was growing up in the same cultural world as Bill Evans. Thinking back to my youth I wonder about the differences between the music and art of the 1950s and 1960s and what I see and hear today.

When I attempted to introduce that aspect of myself into a conversation, the younger group responded briefly and dismissively. I withdrew like an adjective holding on until the final edit. In today’s world of art and music fitting the conversational mood was better than trying to make a comparrison about their music and art and what I grew up seeing and hearing. What would be my point beyond me chassing ghosts.

Of course, good art and memorable music are still being made today. But I find comparisons increasingly difficult the more I learn about art and music together. Perhaps I am simply recognizing how fortunate I was to grow up in the cultural world of the 1950s and 1960s, when so much of its music and art became part of my everyday life. I took much of it for granted then. Only later in 2006 did I grasp in earnest the meaning of that understanding and how much music and art had had given me.

My Foolish Heart October 11th ≈ L36 x W44 x D8.75 Inches

Scott Von Holzen

S_V_H The music in ArtinMusic From the Start and My Foolish Heart

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A “what did you aspect,” Artist talking to his Studio Windows looking North, with no prep and no firm thoughts he wishes to share. It just kind of comes out and there is no one on the other side looking at me and thinking to say, “could you clarify just what the hell is Interactive Constructed Installation art form …….. but wait I do not have that much effort left in me today…. so here is where it goes.

On down are some image so the viewer (if one is to be found) can see how long it took for this artist to arrive at My Foolish Heart’s art ridiculously long artsy art form (I was told) Interactive Constructed Installation.

March 12th 2025. Vivaldi’s Four Seasons

I have to add, a lot of time and effort and thoughts of “can we be done,” went into this one artwork which is composed of four separate artworks that all need to play and light in a row, starting with Spring, Summer, Fall, and Winter. I was a hard focus technical that was needed for this to work. The artwork was actually shown in a wine bar for a month or so. Then I got the call to pick it up. No feedback, no comments (except during the group show reception), but I have not recall, and now if you look at the image above this great Vivaldi piece ha ngs in my Studio. It is too big to store.

October 2025. The artwork Drive
May 2026. From The Start
May 13th 2026. At this time I was working on more than one artwork in order to apply to a exhibit at the ARC Gallery.

This image from the Studio on May 13th 2026. shows on each side of Drive two works I was building together in order to apply with time to a up coming deadline in an exhibit. It is From the Start I decided to split up my staff into three pieces and to attach the songs words, “Blah, blah, blah, underneath. The way Laufey sang those words made me think I would like to transform her way of saying these words into a more visual connection. That was when made the metal frame flexible that hold that attached staff, and this allow me to move those three little staffs into more dramatic positions. That then carried over a little in Adelle’s Rolling in the Deep.

Scott Von Holzen

S_V_H Rolling and And So warp up:

Published on by Scott Von Holzen

I do not want to look at the starting dates (end of May 2026) on these two artworks’ Work Sheets. In small print on each artwork is a copy of the WS. These two projects came into existence to fill out a total of six entries of recent, and most advanced artworks. I spent all these many months making major upgrades that pushed this artwork hard ahead. All this time was spent to complete the ARC Gallery submission for a solo show. It was close but I was able to submit in time my application for the third time to this interesting Chicago Gallery.

The results were to be sent by July 12th. I received an email on July 31st. In the time delay, I knew I had to make it in the top group, not expecting to have yet convinced the Juror at the ARC Gallery that it was my turn to have what Andy Warhol called “……everyone will be world-famous for 15 minutes.” Another 40 dollars spent to get the simple message that the establishment art does not think I am yet ready for primetime.

RC Gallery Solo Show 2026 Results
Rolling in the Deep (Left) and on the right side: And So It Is (The Blowers Daughter)

On August 2nd to the 4th my AI, Mr. Brightside, and I had this conversation. Here is the Brightside edited summary of our exchange. This summary is based on my requests and I was the final editor in charge of what is printed here.

Even in my videos, no matter how I try to articulate just what a visitor or a viewer might see in these artworks, it seems I am still not there yet, in explaining why you the visitor needs to “push” the green button and to look at the depth of these artworks, because there is a lot to absorb. Since I stubbornly support this art, let me explain why, once again. I first moved from being the next Ansel Adams to the next Jackson Pollock, or Mark Rothko — a strange ending for both. Instead, how about the next Vincent Van Gogh? Wait, that also ended badly. The next Picasso, then — but I am no Picasso. I am more a messenger for this art style of creating portraits of songs. I say this because I do not see myself as an artist. Somehow it feels like a poor fit. I painted in the mid 1970s and returned in early 2006 when I realized I could take my feelings towards art and music, and combine my efforts into a new way of looking or seeing, or feeling, touching music, or whatever reason I’ve landed on over these 20+ years of painting and music.
Today, these two artworks finally connect the artwork and the speaker cover music the way I’d been wanting. This is because these two works are the first to have installed a third speaker. A 5×7 inch speaker on And So It is and a true subwoofer of 6.5 inches on Rolling in the Deep. That third speaker added a bass range my artwork had been missing. In music, bass is critical — it’s the foundation most sound sits on. Before these two works, that foundation wasn’t there. To explain what I said is another talk for another blog post. For now, I am finally done….. and now I can restart my enthusiasm for another great song to have its portrait created and heard.

I Hayden to List, but I must Mozart along.

Scott Von Holzen